Riki Lindhome reflects on the challenging nature of her performance, stating, “I understand this show may create discomfort,” as she sits at her piano following a poignant song addressing pregnancy loss. While “Dead Inside” may not offer a warm or cozy experience, it is undeniably humorous, engaging, and profoundly emotional. Attendees familiar with trauma-comedy, a genre often showcased at fringe festivals, might approach the concept of “a one-woman musical comedy detailing my fertility experiences” with some skepticism. However, this American performer’s skillfully crafted hour-long presentation—narrating her journey filled with ups and downs in her pursuit of motherhood—will rejuvenate their appreciation for the genre.
A significant aspect of Lindhome’s performance is its understated nature; few personal narratives come across as less self-indulgent. She often concludes her songs with a modest “that’s it,” and the production design remains simple, even featuring a hand from the wings controlling a bubble machine. Lindhome, candidly, would rather not share her experiences with frozen embryos, unsuccessful IVF attempts, seven surgeries within a single year, unexpected relationship breakups, and her designation as an “undesirable candidate” for adoption.
The latter anecdote stands out, as Lindhome grapples with the implications of her online presence, which includes risqué and irreverent songs from her duo, Garfunkel and Oates. The performance features a range of clever and bittersweet tunes, including one that parodies Disney princesses—written while she was navigating her pregnancy challenges—and another playfully inquiring, “will you be my bio-dad?” There are also amusing yet relevant references to “The Sound of Music” and the history of women’s health scattered throughout the show.
In a later song, Lindhome humorously refers to her surrogate as a “trash bag,” a comparison that might seem irreverent but effectively captures the reality that, much like a comedic duo now performing solo, surrogacy may not be the ideal scenario, yet it remains preferable to not pursuing the option at all.
The production also includes an element of advocacy, subtly highlighting important issues, particularly concerning information that could have significantly influenced Lindhome’s journey. From a seemingly timid start, her show quickly draws the audience into a full experience that engages their emotions, intellect, and sense of humor.
Currently running at the Soho Theatre in London until April 18.
